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File: 256 KB, 963x1210, image of the false prophet mohamed suffering in hell, something that not even he deserves (because no one does).jpg [View same] [iqdb] [saucenao] [google]
23247672 No.23247672 [Reply] [Original]

Dante, toward the end of the Inferno: perfect image of human derangement and moral schizophrenia. The author wants us to appreciate images of suffering (and to take some lurid pleasure in it), and yet at one point Virgil scolds Dante for tarrying to observe. We have a schedule to keep, you know. When Dante joins in the scolding of the damned, Virgil approves. When his humanity surfaces and he takes pity, Virgil reproves him. The real moral depravity of believing in the goodness of eternal suffering (for those who "deserve" it) is betrayed by Dante's own perfectly human-and, in this case, morally correct-horror and sympathetic sadness upon observing the damned (which, of course, is contrary to the will of god and thus conveniently bad by definition). Although the Inferno is non-canon "fan fiction" for christianity and a literary device for Dante to praise and scorn his contemporarires, it is best read as an illustration of what is odious and contemptible in the sincere belief in the goodness of eternal suffering, as this doctrine is found in certain strains of christianity and other false teachings, such as islam. Notwithstanding, one of the text's great merits, helped by Gustave Doré and more specifically his staff, is to depict that particular false prophet has having been laid low, albeit that this, again, is clearly not a punishment that any man can possibly deserve. The derangement continues in later sections, as others and especially Beatrice give incorrect and unsatisfying explanations for the nature of moral reality. To Dante's credit, he actually pushes back a bit on what Virgil is saying in Purgatorio, and generally Virgil bats them away with the convenient "u just don't understand yet bro you haven't seen the full picture".

Thus, in principle, The Divine Comedy may contain within itself the utility of causing the intelligent reader to reject abrahamic religion, despite or even because of the fear tactic of hell itself.

>> No.23247791
File: 127 KB, 1200x1200, 1667594386089026.jpg [View same] [iqdb] [saucenao] [google]

>In so far as Dante's great poem was a product of his time, to us it seems almost repulsive; but it was simply through the realism wherewith it painted the superstitious fancies of the Middle Ages, that it roused the notice of the contemporary world. Emancipated from the fancies of that world, and yet attracted by the matchless power of their portrayal, we feel a wellnigh painful wrench at having to overcome it before the lofty spirit of the poet can freely act upon us as a world-judge of the purest ideality,—an effect as to which it is most uncertain that even posterity has always rightly grasped it. Wherefore Dante appears to us a giant condemned by the influences of his time to awe-compelling solitude.

>Perhaps the poetic power bestowed on Dante was the greatest e'er within the reach of mortal; yet in his stupendous poem it is only where he can hold the visionary world aloof from dogma, that his true creative force is shewn, whereas he always handles the dogmatic concepts according to the Church's principle of literal credence; and thus these latter never leave that lowering artificiality to which we have already alluded, confronting us with horror, nay, absurdity, from the mouth of so great a poet.

>> No.23247837

One would believe OP is a sodomite.

>> No.23247860

Of course Luther's own race can't grasp the beauty of true Catholic art.

>> No.23248246


Pity spareth so many an evil thing.

— Ezra Pound, Canto XXX